Open vs Closed Auditions: What They Mean for Young Performers
An open audition is public: anyone who fits the notice can turn up or apply, with no agent and no invitation. A closed audition is private: only people the casting team has chosen or invited get a slot, usually through agents or existing contacts. Both lead to the same place, a room with a panel and a few minutes to show who you are, but the way in is very different, and so is what you should do to get ready.
If you are 14 to 19, or the parent of someone who is, this guide explains how each route works in UK theatre, what really happens on the day, how to check that a call is genuine, and where youth theatre fits in.
TL;DR
Open audition: public, no agent or invitation needed, often busy, with short slots. Read the notice for who can apply and what to bring.
Closed audition: by invitation or submission through an agent or contact, usually with a set time slot and a calmer room.
An open call is not a promise of a part. It is a chance to be seen. Offers come after auditions have taken place.
Genuine UK casting does not charge you to be considered. Walk away from registration, portfolio or casting fees.
Under-16s and licensing: performing in a production usually needs a child performance licence, applied for by the organiser, not by you.
Table of Contents
Open and closed auditions: the difference in plain terms
The simplest way to separate them is to ask who decides who gets in the room.
At an open audition, you decide. If the casting notice says it wants performers of your age, with your skills, you can apply or attend. An open call is public and accessible to any performer who meets the requirements in the casting notice, without needing an agent or prior invitation. When large numbers turn up, people sometimes call it a cattle call, which says a lot about the atmosphere.
At a closed audition, the casting team decides. Only invited performers are seen, which usually means people put forward by agents, managers or personal contacts. The Royal Shakespeare Company, for example, says its auditions for specific productions are normally by invitation, with the casting director building lists and considering submissions from agents before arranging anything.
Open audition | Closed audition | |
Who can attend | Anyone who meets the notice | Invited or selected performers only |
Agent needed | No | Often, though not always |
Typical atmosphere | Busy, queues, quick turnaround | Scheduled, quieter, more private |
Time per person | Short | Usually a set slot |
Feedback | Rare | More likely |
Best for | Newcomers, performers without representation | Performers with credits, training or a referral |
Neither is better in itself. They suit different productions, different budgets and different stages of a performer’s journey.
What happens at an open audition
Formats vary, but a venue-based open call tends to follow a pattern. You arrive, register, wait, and then read or sing for a very short time. At the busiest calls performers queue and read for around two minutes. Some calls are online instead, where you send a short self-tape.
For musicals in the professional West End and subsidised sector, Equity and the Society of London Theatre publish a code of conduct. It says open auditions for musicals must have at least two people on the panel, that an Equity representative is entitled to attend all open auditions, and that performers are normally seen in order of arrival, using a numbered card that fixes their place in the queue. That code applies to professional work, but it shows what fair practice looks like, and it is a useful benchmark for any audition you attend.
A few practical consequences:
Arrive early. Order of arrival often decides when you are seen.
Bring water, a snack and something to do. Waiting is part of the day.
Have your material ready to start at once. You may be stopped after a minute or two.
Be easy to work with. In a short slot, how you take a note says as much as what you perform.
What happens at a closed audition
A closed audition feels different from the first email. You are given a time, often an individual slot, and told what to prepare. The room is private, which many performers, especially younger ones, find less daunting. Closed auditions in theatre usually involve scheduled individual slots, and because the panel has fewer people to see, directors can tailor the session to the performer, perhaps giving feedback or asking for an immediate second go.
That is the upside. The downside is access. If you are not represented and do not know anyone in the industry, a closed process can feel like a locked door. Which is exactly why open calls exist.
Why theatres hold open calls at all
Casting teams open the doors for good reasons:
To widen the pool. A UK casting director may post an open call so that untrained or unrepresented actors who might miss the traditional agent route can be considered, as the Guardian reported in 2024.
To find a specific person. Some roles need a community, a language or a real-life skill that agents’ lists may not hold. The RSC says it sometimes holds open auditions for actors with particular characteristics or skill sets.
To reach people through other channels. The National Theatre of Scotland, for instance, advertises casting on Spotlight and sends breakdowns to agents, and for specialised performers it may also advertise searches more widely.
There is a flip side. A well-run open call can become unwieldy fast, and some directors prefer closed sessions precisely because they are more structured. Both views are fair, and it explains why you will meet both kinds.
Does an open call guarantee a part?
No, and it helps to go in knowing that. Offers are made once auditions have taken place, and a place in the queue is not a place in the cast. Even a sign-up confirmation can turn into a polite message saying the session is full. Treat an open call as a chance to be seen, and judge your day on what you learned, not only on the outcome.
That mindset matters especially for teenagers. A first audition is practice. The fifth is usually far better than the first, because you have learned how a room feels, what a panel wants to see and how to settle your nerves.
Is the call genuine? A checklist
Open calls attract scams because they attract hopeful people. Before you apply, or before a parent lets a teenager attend, check these:
Read the notice properly. A genuine one says who can apply, the closing date and what to submit, usually a short self-tape.
Check the people behind it. Look up the production company on Companies House and check the casting director against the relevant professional list, as advised for UK castings.
Never pay to be considered. Legitimate UK casting does not charge talent. Be wary of registration, membership, portfolio or job-specific casting fees.
Guard personal information. Be cautious of requests for sensitive details before you have even auditioned.
For under-18s, a parent or guardian should read everything and attend.
Photos are a common place where money changes hands, so keep a clear head. A current, natural headshot is useful, and there are plenty of options, from a friend with a good phone to a professional. If you want a studio session, look at queer-friendly headshot photographers in London, and compare prices before you book. A casting call that insists you use one particular photographer, or pay it, is a red flag.
Licences for performers under school-leaving age
This is the part many families do not know. In England, children from birth to the end of compulsory school age generally need a performance licence before they perform in a production, and Westminster City Council, for one, states this on its entertainment page. The responsibility for applying lies with the production company or event organiser, not the agent or drama school.
Two practical points follow. Councils need time: Enfield asks for at least 10 working days’ notice, and it checks that the performance is appropriate and will not harm the child’s health or education. And if someone asks you or your parents to arrange a licence yourselves, ask why. Rules differ by council and by type of performance, so ask the organiser which local authority handles the licence, and check that authority’s own page for current requirements.
How to prepare, open or closed
The preparation overlaps, but the emphasis differs.
For an open audition
Expect speed. Choose material that shows your strongest side in the first thirty seconds. Rehearse until you can start with no warm-up, and keep a backup piece in your pocket. Read the brief carefully, because open calls often ask for something specific. Our guide to open auditions and practical youth theatre steps walks through the day in more detail.
For a closed audition
Expect depth. You may be redirected, asked to try a piece differently, or called back. It helps to know what happens next, so read our piece on callback formats young actors should rehearse. If a song is involved, a steady plan beats last-minute cramming, and our six-week musical theatre plan shows how to build one.
For both
Pick a comedic or dramatic piece you genuinely enjoy. Our comedic monologues for teens are a good place to start looking.
Wear something you can move in, in a plain colour that does not distract. See the audition dress code rehearsal tests.
Say thank you, and mean it.
Our perspective at Ocean Theatre Company
We work with young people aged 14 to 19 in Berkshire, and we see the nerves that auditions cause every year. What we notice is that the format matters less than whether a young person feels safe enough to show who they are.
That is why we welcome people into the company without an entry audition. We want the young person who has never been on a stage to feel as welcome as the one who has done five shows, because confidence is built by taking part, not by being filtered out at the door. Our members rehearse weekly with professional direction and perform in two fully staged musicals a year, and the growth we see in them, in voice, in teamwork and in how they stand in a room, is the reason we do this.
We also think every teenager should try an audition at least once, in a place where the stakes are low. Professional open and closed calls are a skill of their own, and learning them gently, with a supportive group around you, beats meeting your first panel cold. If you are weighing up where to start, our article on what youth theatre is for UK teens explains how a public show differs from a class.
— Andrew
Where Ocean Theatre Company fits
If you are a young person who wants stage experience before facing professional calls, or a parent looking for a nurturing place to build it, take a look at The Company (14-19). It offers weekly rehearsals, professional-led direction and the chance to perform in large-scale musicals, with singing, acting, dance and ensemble leadership opportunities along the way. You can see our current production on the What’s On page, and our past shows, including Guys & Dolls and Les Misérables, show the sort of repertoire members work on.
Which route should you choose?
A simple way to decide:
No agent, little experience, curious: go to open calls, but start with ones that are clearly legitimate and age-appropriate. Build confidence first in a youth company.
Some training and credits, or an agent: closed auditions will probably come up through representation. Keep an eye out for open calls that match a particular skill.
Unsure: do both. Treat open calls as practice and closed ones as the next step.
At any stage, keep the same rules: read the notice, never pay to be considered, and make sure a parent or guardian knows where you are going.
A short checklist for parents
Supporting a teenager through auditions is partly logistics and partly emotional work.
Read the casting notice yourself, including the closing date and what is being asked for.
Ask who is responsible for any child performance licence, and which council issues it.
Plan the day: travel, food, water, a charged phone and a quiet place to wait.
Agree before you go what a good day looks like. It should not be only “getting the part”.
Afterwards, talk about what went well first, then one thing to try next time.
Most young people who audition do not get the first role they go for. Those who keep going usually say the process itself, learning to walk in, breathe and begin, changed how they felt in other parts of life too. Our piece on musical theatre and public speaking for 14 to 19s looks at why that carries over.
FAQ
What is an open call?
An open call is an audition, in person or online, that any performer meeting the requirements in the casting notice can attend or apply for. You do not need an agent or an invitation. It is sometimes nicknamed a cattle call when huge numbers of people turn up.
Can I go to a closed audition without an agent?
Sometimes. Closed auditions are usually reached through agents, managers or personal contacts, but not exclusively. Casting teams may also look at submissions or advertise through channels such as Spotlight, so check the notice and apply to anything that clearly welcomes your profile.
Do I have to pay to audition?
No. Legitimate UK casting does not charge performers to be considered. Be wary of registration, membership, portfolio or casting fees, and ask a parent or teacher to look at anything that asks for money before you reply.
Does a young performer need a licence to take part?
Often, yes, if they are below the end of compulsory school age and performing in a production. The organiser, not the child’s family, is responsible for applying to the local council, which needs notice to process it. Ask the organiser which council covers the performance.
Which is better for a first audition, open or closed?
Neither is better, but many first-timers find a quieter, scheduled slot less daunting, while open calls are the easier way in without representation. If nerves are the worry, try a friendly youth company first and build up from there.
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